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Horrific Resurrection

I always knew this would come back.

Those who have followed me for a while may remember the original attempt I made when painting this particular hellish creation. I don’t necessarily dislike the original attempt, either. It’s just that I always knew that I could do something that better represented the way I originally envisaged the piece, that, due to various reasons, never actually materialised in the finished version. Not that it was ever completely finished. That said, I do like the conceptual approach I took with the original attempt.

It also serves to highlight my progress with digital painting.

Which is an approach I’m still fairly inexperienced with. Each of the attempts I’ve made at digital painting earlier this year have highlighted something unique to those pieces, and this piece is no exception. It also marks the first time that I’ve attempted something that is at the very least slightly humanoid. Which helps me to ease into prospective digital paintings.

I’ve had many different ideas for digital paintings this year, too. Most of them are considered purely to leverage the benefits of digital painting. In that, unlike traditional painting, you have the capability to infinitely reattempt a digital painting. You can be much more creative with the composition, colour choice, or approach as well. As there is little to no risk of actually being unable to finish the painting at a later date. This process can be quite costly with traditional approaches. It also allows me to get used to working on a piece consistently over multiple periods of time, which is something that I will need to become more accustomed to with traditional approaches in the future. I can’t quite say when these traditional pieces will make an appearance, though.

That’s the face I make when I get a free coffee.

This particular work in progress is going quite well at the moment. I’m most fond of the peeling skin texture, which is not unlike frayed fabric and fits how I envisaged the skin to be stretched over the flesh. I’m also quite fond of the eyes. They’re a little more squishy and bloodshot than I initially intended but they still fit. They haven’t fallen out of their eye sockets at least. I’m pleased with the semi-realistic approach as well. I’m not sure how best to actually describe this approach, but that’s to be expected at this point.

I never know what to call anything that I do.

I’m not entirely sure how I feel about the colour choice for the exposed flesh. It’s a little too bright for my tastes. But that could just be because I’ve been staring at this painting for hours and need a break from it. I’ll decide later whether I want to darken those colours, lighten them further, or leave them as they are. I don’t really know what I’m doing with the exposed flesh.

I’ve been much more concerned with the skin and the general composition up until this point. I wasn’t sure if I’d continue with my usual single layer approach, or if I’d use two layers with one for the skin and one for the flesh. Each approach is useful but I still feel more comfortable with the single layer. That said, I do have my usual extra layer which is used for the little details and additions which I might decide against later. Which, again, is another benefit prevalent in digital approaches. You can easily add new colours or details and (if desired) remove them just as easily. I’m still quite proud of how my creative efforts have developed over this year and I’m looking forward to what I might do next. Even I couldn’t say for certain.

Have a nice week, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.

Doom, the UAC, Doomguy, Pinkies, Revenants, and all associated trademarks and devices are owned by id Software.